037 – The Sandman

Encountering the reptillian Galyari, Evelyn is shocked to learn that the Doctor is their legendary enemy, the Sandman.

1 Comment

Styre
on May 7, 2016 at 11:32 PM

THE SANDMAN

The third “experimental” release in a row for BF and the first offering from novel scribe Simon A. Forward, The Sandman poses an interesting question: what if, instead of being the hero, the Doctor is a villain? Besides the central question, the play also strongly develops a new alien race and features excellent production work, marking yet another strong offering from Big Finish.

Can the Doctor be a villain? Of course, the circumstances described by the play do not label him as such from an objective standpoint (or at least the standards of objectivity that we find appropriate). But is it hard to believe that other races view him with fear? The NAs loved to play up the “Ka Faraq Gatri” concept of the Daleks viewing him as a mythological terror, and I’m sure the various other recurring monsters hold no love for the Doctor. But here, Forward offers a race that views the Doctor as a villain but isn’t itself evil. And though it’s clear that the Doctor won’t be revealed to be truly evil, Colin Baker’s performance coupled by the perspective of the aliens gives the listener some moments of doubt.

None of this could be possible without the development of the Galyari. From the descriptions of the Clutch, to the concept of the Srushkubr memory eggs, to the fleshing out of the individual character types among the Galyari, this is one of the most detailed, believeable alien races ever created for Doctor Who. It’s rare to see a creation that is noticeably alien but still sympathetic without resorting to obvious human tropes, but Forward has constantly demonstrated in his work that he is a master of characterization. And, as I mentioned in another review, I’ve got time for any author that makes his actors say words like Srushkubr with a straight face.

Of course, if any actor is going to work his tongue around complicated alien terminology, it’s Colin Baker, who turns in a very strong performance as the sixth Doctor. Because he’s forced to assume the role of villain in the eyes of the Galyari, he must return to the early season 22 portrayal of the Doctor as angry and unstable, and he’s entirely convincing. Baker has a very threatening voice when he turns his mind to it, but he allows a small amount of hesitation creep into his voice when threatening the Galyari — it doesn’t get much better than this from the lead actor.

Unfortunately, in her first appearance since Project: Twilight, Maggie Stables doesn’t get anything to do as Evelyn. Sure, she wanders around with the Doctor and passes disapproving commentary, but this is some of the least effectiveness we’ve ever seen out of the companion role. This doesn’t negatively impact the play — as a piece of drama it functions well, it’s just not very “modern” Doctor Who in that respect — but if you’re listening for some quality Evelyn stuff you’ll be disappointed. Stables does well with the material, though.

As well-developed as Forward makes his characters, their success would not be achieved without solid acting — and the cast of The Sandman is very good indeed. Anneke Wills returns to Doctor Who as Nrosha, and her bitter, hostile performance is miles from what we saw on television — but it’s excellent all the same. Ian Hogg is equally powerful as Voshkar, while the Marks Donovan and Wharton are strong in support. Stephanie Colburn’s turn as Nintaru, coupled with the voice filter, is a bit annoying, but surely that’s the point.

Gary Russell directs The Sandman with his usual skill, drawing solid performances from his actors and keeping proceedings to a good pace. It’s wonderful to have a director that understands a complicated script, and that is clearly in evidence here. Gareth Jenkins’ sound design presents a nicely alien environment, and his work with the birdsong is distinctive and fascinating. Russell Stone’s score, meanwhile, is of course excellent, and it’s much darker and more dramatic than some of his more experimental offerings.

Overall, The Sandman is another excellent Big Finish production. There are hardly any flaws on display, and though it doesn’t aspire to any particular heights of greatness it reaches them all the same. With excellent characterization, a fine plot, and solid acting, it’s hard to go wrong with this play.